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International Dialogue through Art residency

國際交流與對話_ 國際藝術駐村作品

 

南島語系(英語:Austronesian languages)主要由南島民族所使用的語言,是世界現今唯一主要分布在島嶼上的一個語系,包括約1300種語言。其分布主要位於南太平洋群島,以及臺灣、夏威夷群島、越南南部、菲律賓、馬來群島,東達南太平洋東部的復活節島,西到東非洲外海的馬達加斯加島,南抵紐西蘭。臺灣是南島語系分化及擴散的源頭,也是目前南島語系最北部的地區 。在此國家群中,彼此在語言與文化上有某種共通性,但又因地理位置有個別差異等。

今年臺東與馬來西亞兩家國際藝術村建立連結,邀請南島語系國家藝術家到臺東駐村一個月;也將臺東藝術家送往該地駐村,在彼此駐地交流中,共同創造一種更嶄新當代的南島文化對話。

今年臺東送出至馬來西亞交流的有三位藝術家,包含林戎依 Lin Jung-Yi、薛佳綺 Hsueh Chia-Chi、周聖賢Chou Sheng-Hsien;另邀請至臺東駐地創作有三位藝術家,包含來自馬來西亞的藝術家張文婷Wendy Teo、默罕默德·艾曼努丁Muhammad Aimanuddin與來自東加/紐西蘭的烏希拉奈Uhila Nai,共6組駐地創作作品將在新加坡  FIND亞洲設計博覽會中展出。

Lin Jung-Yi 林戎依

Residency place:Borneo Laboratory (Malaysia)

駐村地點:婆羅洲美學實驗室 (馬來西亞)

 

 

Nostalgia

Inspired by Borneo Cultures Museum and The new State Legislative Assembly Complex, also incorporating the bright colors of the Malaysian Hornbill, the overall style presents the diversities of culture. Combining the tree bark of Taiwan and Borneo symbolizes the integration of different cultures, at the same time highlights the mutual influence and commonality between cultures.The curly shape is inspired by the local vegetable called MIDIN which is in the same category as Pahku in Amis culture.

Cotton thread, iron wire, pipe, bark cloth, beads

Necklace: length 58* width 28* height 4 cm

Single earrings: length 12* width 6* height 1.5 cm

眷戀的樣貌

以婆羅洲文化博物館和古晉州議會的特色外觀作為創作靈感,並融合馬來犀鳥的鮮豔色彩,使整體風格呈現出華麗生動的氛圍,以展現文化的多樣豐富性。透過將臺灣樹皮布與婆羅洲樹皮布糅合,展現出兩種不同地區樹皮布的優點,這結合象徵著不同文化間的融合,同時凸顯出文化之間的相互影響與共通性。下擺處運用捲曲造型來呈現當地特有的midin蕨類野菜,此植物與阿美族文化中的Pahku共屬一類,因此在我見到它時,不禁讓人感受到家的溫暖與親切。

材料:棉線、鐵絲、管線、樹皮布、珠珠

尺寸: 項鍊:長58*寬28*高4公分,耳環單支:長12*寬6*高1.5公分

Hsueh Chia-Chi 薛佳綺

Residency place:Sari Chempaka Art Village (Malaysia)

駐村地點:Sari Chempaka Art Village (馬來西亞)

Katak dan berudu

From the first day of arriving at the art village those sounds are around everyday. The loud frogs, birds, prayer broadcasts, local people talking in different languages ​​and so on. I want to express these sounds with clay, at the same time thinking what is the commonality regardless of ethnic groups? Then music comes to mind. The shape of this work is inspired by the pods of local leguminous plants, and while shaking it would sound like a frog.

Pottery

15x5cm

青蛙搖搖

抵達藝術村的第一天開始,每天都能聽到青蛙響亮的叫聲,還有各種昆蟲、鳥類、祈禱時間的祈禱廣播、在地人們使用不同語言混雜著交談等等。想把這些聲音,用陶土表現出來,也由於馬來西亞各族群的文化差異頗大,也思考著不分族群的共通性是什麼?音樂是我想到的。這件作品外型靈感來自當地的豆科植物的果莢,搖晃作品時,內部的陶珠滾動,會發出類似青蛙的叫聲。

材料:陶土

尺寸:15x5cm

Chou Sheng-Hsien 周聖賢

Residency place:Sari Chempaka Art Village (Malaysia)

駐村地點:Sari Chempaka Art Village (馬來西亞)

Eat in Malay

During my art residency in Malaysia, I got myself an exercise which is to put my Paiwan culture identity aside for a while, then to see what I would learn. After visiting the National Art Center, The Craft Center and The National Museum, I had a very clear thought in my mind - Fusion.

 

For me, learning a new culture always starts with its food, so I take tableware as the starting point, and work with wood, Islamic patterns, and metal to create my own fusion - Eat in Malay.

 

Malaysian hardwood, brass sheet

Wooden tray - length 25cm* width 15cm* thickness 2.5cm.

Butter knife and fork - 22cm

食在馬來

關於此次藝術駐村,算是給自己一個練習,暫時把自身的排灣文化放在一邊,試著不要依靠它,我能學到甚麼?參訪了國家藝術中心、工藝中心和國家博物館後,在回程的路上,心裡產生了很清晰的「融合」。對我來說,認識在地文化,無非從飲食開始,於是以餐具為出發點,以木作、木雕、伊斯蘭圖紋、馬來西亞古代冷兵器造型和金工做結合,做出屬於我的融合-食在馬來。

 

材料:馬來西亞硬木、1mm黃銅片

尺寸:木盤-長約25cm,寬約15cm,厚約2.5cm。

奶油刀和叉子-總長約22cm,木握把長約16cm,寬約1.5cm,厚約1.5cm。

Wendy Teo 張文婷Malaysia

Residency place:Ata beads (Taitung)

駐村地點:卡塔文化工作室 (臺東)

The Eyes

Before leaving Taitung, a series of dialogues and works related to carefully selected local materials and motifs were completed within the span of a month.

 

This residency project delved into various timber and bark materials sourced from different regions of Taiwan and Borneo, exploring their potential in various forms and scales. During the processing phase, curved shapes were crafted by cutting through diamond-shaped cut-outs in the flat materials, enabling these materials, typically used in two dimensions, to assume curved forms. Subsequently, they were incorporated into lighting fixtures and spaces to demonstrate the possibilities of artificial or natural light and shadow.

 

The diamond shape was chosen to serve as the primary motif for this project's development. Through conversations with diverse friends who generously shared their insights, we discovered that in local tribes such as the Bunun and Paiwan, the diamond shape also carries sacred significance and is intertwined with the narratives of the Hundred Pace Snake and the Ancestral Eye.

 

Dialogue I - Coiling Snake (Lighting Design)

Dialogue II - Luminous Gaze (Spatial Concept Design)

Dialogue III - Women's Gathering (Exploration of Lighting and Space)

眾眼

離開臺東前, 完成了一系列關於地方材料和圖騰的對話與作品作為一個階段性的探索.

這次的駐村創作探索了各種台灣地方上的木皮與婆羅洲樹皮材料, 在幾種尺度上的型態可能. 在加工時, 也透過菱形鏤空的切割產生平面材料型塑上的彎曲, 讓這些平常作為平面使用的材料展現了曲型的狀態,  用置於燈具和空間去展現人工或自然光影可能性.

菱形作為此次發展的圖騰, 透過與不同朋友的對話後也知悉在地方部落如布農和排灣裡也具備神聖意義, 並且與百步蛇和祖靈之眼的故事有所連結.

對話 I  – 盤旋的蛇 (燈具設計)

對話 II – 俯視的光眼 (空間概念設計)

對話 III – 女人們的聚會 (燈光與空間探索)